Alan Simon 141 Music Mountain Road Falls Village, CT 06031 Phone: (860) 824-8274

Total Page:16

File Type:pdf, Size:1020Kb

Alan Simon 141 Music Mountain Road Falls Village, CT 06031 Phone: (860) 824-8274 Alan Simon 141 Music Mountain Road Falls Village, CT 06031 Phone: (860) 824-8274 www.alansimonmusic.com CAREER: PROFESSIONAL JAZZ ARTIST—MUSICIAN; EDUCATOR; PIANIST, ALAN SIMON MUSIC CONSULTANTS PERFORMED WITH: Lionel Hampton Orchestra 1984-1986 Dizzy Gillespie Buddy Tate Panama Francis Frank Foster George Coleman Major Holley Mel Lewis Slam Stewart Howard McGhee Lee Konitz Al Grey Toots Thielemans Anita O’ Day Slide Hampton JAZZ FESTIVALS (highlights): Grande Parade Du Jazz—Nice, France North Sea Jazz Festival—The Hague, Holland J.V.C. Jazz Festival—London, England Umbria Jazz Fest—Perugia, Italy PERFORMANCES (highlights): Carnegie Hall, New York City Vienna Opera House, Austria Caramoor Center for Music, Katonah, N.Y. The Blue Note, New York City Opera House—Teatro California, Santiago, Chile The Village Gate, New York City Music Mountain, Falls Village, Connecticut Metropolitan Museum of Art, New York City Johnny Mercer Theater, Civic Center, Savannah, Georgia Juilliard Recital Hall, The Water Club, 21 Club, Plaza Hotel, Waldorf Astoria, River Café, Harvard Club, Lutece, Tavern on the Green, Le Cirque, Gracie Mansion (All located in New York City) Towne Crier, Pawling, New York ORCHESTRAL APPEARANCES: New Orleans Symphony Orchestra Milwaukee Symphony Orchestra DISCOGRAPHY: • Alan Simon Quartet: “Without A Song” (1998) Concert recorded Live at Music Mountain Jazzfest: Falls Village, Connecticut Whispering Pines Records—120651CD • Alan Simon Jazz Group: “The Present” (1997) Whispering Pines Records—120649CD • Lionel Hampton & His Orchestra: “Sentimental Journey” Atlantic Jazz CD 781644-2 (1986) • Alan Simon Quartet featuring Ralph Lalama: “Rainsplash” Cadence Jazz Records CJR1027 (1986) (LP—CD Reissue 1998) • James Chirillo: “Sultry Serenade” Nagel-Heyer Records CD061 (Hamburg, Germany) (2000) • Paul Aston Group: “Exactly Where I Am At This Moment” Astonishing Music Productions 7285486 (1998) • Nicole Pasternak: “Don’t Go, Don’t Leave, Please Stay” Whispering Pines Records 120650CD (1998) • Cadence All Stars: “Lee’s Keys Please” Timeless CD SJP284 (1989) • Steve Brien: “Token Entry” La Brava Polygram LB9612 (1996) ¾ New Releases Fall/Winter 2004-05 “Ascent from the Abyss” and “Lotus Eaters” TEACHING EXPERIENCE: • Faculty Member: Jazz Piano Instruction, Westport School Of Music; Westport, Connecticut,1991—present • Associate Faculty in Jazz Piano and small combo, Hotchkiss School Music Department, Lakeville, Connecticut 1997—present • Private Piano Instruction: Improvisation, Jazz, Classical Music, Vocal Coaching, Instrumental—25 years experience CLINICS: • Jazz Master Classes—Institute of North America–Chile; Santiago, Chile • Jazz Improvisation in a small group along with a clinic/concert in Iquique, Chile, Concepcion, Chile, and The Universidad de Valparaiso, Valparaiso, Chile • Jazz Seminar—‘The Legacy of the Jazz Pianists/Composers and their influence on American Composers: Ellington/Strayhorn, Monk, Waller, Hancock, Powell, Gershwin, Porter, Berlin, Rodgers & Hart/Hammerstein, and Bernstein”—Westport School Of Music (three seminar series) • Jazz Seminar—“The importance of playing in a rhythm section, comping, supporting, blending, and soloing”—Crane School of Music, EDUCATION: • B.A. CUNY; Music Major; Queens College, 1976—summa cum laude AWARDS: • Individual Artists’ Fellowship Grant for Music Composition. New York Foundation for the Arts—1995-1996 PUBLICATIONS: • Published Music Book—2003 The Steinway Library of Piano Music—Piano Stylings of the Great Standards, Volume II (Contributor) “Body and Soul” by John Green, Edward Heyman, Robert Sour, Frank Eyton. Piano Arrangement, (Conceived and edited by Edward Shanaphy. Ekay Music Inc. 2 Depot Plaza, Suite 301. Bedford Hills, NY 10507) • Published Music Book—2003. The Steinway Library of Piano Music—Piano Stylings of Classic Christmas Carols (Contributor) 3 Piano Arrangements. (Conceived and edited by Edward Shanaphy. Ekay Music Inc. 2 Depot Plaza, Suite 301. Bedford Hills, NY 10507) • Published Piano Arrangement-2003 Piano Today (Winter 2003 Issue) “Ballad for Very Tired and Very Sad Lotus Eaters” by Billy Strayhorn • Published Music Book- 2002 Beautiful Christmas Piano- 12 Easy and Elegant Solos for the 12 Days of Christmas (Contributor) 4 Piano Arrangements. Ekay Music Inc. 2 Depot Plaza, Suite 301. Bedford Hills, NY 10507 (Distributed by Warner Brothers) • Published Piano Arrangement—2001 Sheet Music Magazine Vol.25, #3, (May 2001 Issue) Special Arrangement: “No Moon At All” by Redd Evans, Words by Dave Mann • Feature Article and Published Piano Arrangement—1999 Piano Today (Summer 99 Issue) “The Jazzy Side of Leonard Bernstein” A Bernstein Beauty: “Lucky To Be Me” by Leonard Bernstein, Lyrics by Betty Comden and Adolph Green • Published Piano Arrangement—1999 Piano Today (Fall 99 Issue) “Daydream” By Billy Strayhorn and Duke Ellington • Published Piano Arrangement—1999 Sheet Music Magazine Vol 23, #4, (July 99 Issue) Special Arrangement: “You Always Hurt The One You Love” by Allan Roberts and Doris Fisher • Published Piano Arrangement—1998 Piano Today (Winter 97/98 Issue) “My Ship” by Kurt Weill & Ira Gershwin.. • Contributor—Music Book: “505 Great Piano Intros” (Ekay Publishers 2001) • Piano Solo Sheet Music Series—1990 “Rudy’s Tail” by Alan Simon. Second Floor Music, A Don Sickler Production PRESS: • The Advocate, Stamford, Connecticut “In a gig at the mall, the piano player puts the spirit of music into Christmas” from About Town by Arthur Helms—12/24/98 • Poughkeepsie News: Alan Simon: Artist of the Month—Profile, 1997 • New York Times “Jazz Is Joining the Masters At Westport Music School” 10/13/91 • Omaha World Herald “Hampton’s Tasty Solos Delight Crowd” (review)—2/8/86 • Savannah News-Press, Georgia “Alan Simon—Jazz: Classic Jazz Group Performing Sunday” 4/20/86 Frank Jossi • El Mercurio Santiago de Chile “Con Jam Session Seran Conciertos de Alan Simon” 12/5/86 • Jazztimes (record review) 10/86 Stanley Dance • Jazz Journal International “Festival Roundup: Nice, France” 5/86, Martin Richards • Chicago Observer “Consumer Guide To Jazz Records” 5/31/86, Lofton A. Emenari • Cadence Review of Jazz & Blues (record review) Vol.23 No.1, January 1997 • The Gazette Montreal “New and old favorites make records that are a pleasure” 6/5/86 Jazz Notes by Len Dobbin • Coda (record review) 6/87 David Lewis • BeBop and Beyond (record review) 5/1 Spring 1987 • El Sur “En Concepcion:Manana actua The Alan Simon Jazz Trio” 11/24/86 , Chile • Jazziz (record review) Frank Spena, contributing writer • International Musician Interview with Lionel Hampton, 6/86 • New York Times “A Couple of Artists Come Back To Jazz” 10/24/82, Procter Lippincott .
Recommended publications
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • 2XHDST1094.Pdf
    here is no more challenging role in music than that of the solo performer. To succeed in this field of creative endeavour requires a high level of confidence, prodigious technical expertise and, where jazz is concerned, a rare continuity of inspiration. TEarl Hines had all of these qualities, and more. As in the case of the other jazz masters, when you listen to the extemporisations of “Fatha” Hines, you are not simply hearing music of a most elevated order – you are listening to a virtuoso who shaped the course of jazz history, a man who single-handedly (a highly inappropri- ate metaphor in one sense) changed the role of the piano in jazz and brought his unique influence to bear on a multitude of musicians. When Stanley Dance produced these sides in New York, Hines was in his 69th year and had more than half a century of music—making behind him. He was in ebullient form, attacking the music with all the weapons in his pianistic armoury. As the basis for his free-ranging, sometimes quixotic, improvisations, he chose six songs whose music was composed by Harold Arlen, a most gifted writer who was responsible for some of the more sophisticated popular songs of the thirties and forties. But, in truth, the real composer here is Hines himself. Where Teddy Wilson or a Tommy Flanagan would play songs like this and tailor their improvisations accord- ing to the cloth of the original composition, Hines takes up the Arlen jacket, turns it inside out, and gives it a brilliantly patterned lining, brass buttons, a velvet collar, gold braid and a florid buttonhole.
    [Show full text]
  • American Music Review the H
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • STANLEY FRANK DANCE (K25-28) He Was Born on 15 September
    STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935.
    [Show full text]
  • John Bailey Randy Brecker Paquito D'rivera Lezlie Harrison
    192496_HH_June_0 5/25/18 10:36 AM Page 1 E Festival & Outdoor THE LATIN SIDE 42 Concert Guide OF HOT HOUSE P42 pages 30-41 June 2018 www.hothousejazz.com Smoke Jazz & Supper Club Page 17 Blue Note Page 19 Lezlie Harrison Paquito D'Rivera Randy Brecker John Bailey Jazz Forum Page 10 Smalls Jazz Club Page 10 Where To Go & Who To See Since 1982 192496_HH_June_0 5/25/18 10:36 AM Page 2 2 192496_HH_June_0 5/25/18 10:37 AM Page 3 3 192496_HH_June_0 5/25/18 10:37 AM Page 4 4 192496_HH_June_0 5/25/18 10:37 AM Page 5 5 192496_HH_June_0 5/25/18 10:37 AM Page 6 6 192496_HH_June_0 5/25/18 10:37 AM Page 7 7 192496_HH_June_0 5/25/18 10:37 AM Page 8 8 192496_HH_June_0 5/25/18 11:45 AM Page 9 9 192496_HH_June_0 5/25/18 10:37 AM Page 10 WINNING SPINS By George Kanzler RUMPET PLAYERS ARE BASI- outing on soprano sax. cally extroverts, confident and proud Live 1988, Randy Brecker Quintet withT a sound and tone to match. That's (MVDvisual, DVD & CD), features the true of the two trumpeters whose albums reissue of a long out-of-print album as a comprise this Winning Spins: John Bailey CD, accompanying a previously unreleased and Randy Brecker. Both are veterans of DVD of the live date, at Greenwich the jazz scene, but with very different Village's Sweet Basil, one of New York's career arcs. John has toiled as a first-call most prominent jazz clubs in the 1980s trumpeter for big bands and recording ses- and 1990s.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Celebrating Duke Ellington
    Thursday–Saturday Evening, April 25 –27, 2013, at 8:00 Saturday Afternoon, April 27, 2013, at 2:00 Wynton Marsalis, Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance. CELEBRATING DUKE ELLINGTON JAZZ AT LINCOLN CENTER ORCHESTRA WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto Saxophone, Clarinet TED NASH, Alto Saxophone, Clarinet VICTOR GOINES, Tenor Saxophone, Clarinet WALTER BLANDING, Tenor Saxophone, Clarinet JOE TEMPERLEY, Baritone Saxophone, Bass Clarinet JAMES CHIRILLO, Guitar and Banjo DAN NIMMER, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums Selections will be announced from the stage. There will be a 20-minute intermission for the evening performances. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard ® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center. This concert is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz.
    [Show full text]
  • Remembering Charles Ellsworth Russell STOMP the 45Th Annual NJJS Pee Wee Russell Memorial Stomp SUNDAY Is All Set to Chase Away Winter’S Chill on Sunday, March 2
    Volume 42 • Issue 2 February 2014 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. PEE WEE Pee Wee Russell, New York City c. 1944-46. Photo by William Gottlieb. RUSSELL MEMORIAL Remembering Charles Ellsworth Russell STOMP The 45th Annual NJJS Pee Wee Russell Memorial Stomp SUNDAY is all set to chase away winter’s chill on Sunday, March 2. Once again presented in MARCH 2 the elegant Grand Ballroom of the Birchwood Manor in Whippany, NJ, this year’s details bands are: Dick Voigt’s Big Apple Jazz Band, David Ostwald’s Louis Armstrong pages Eternity Band, the Keith Ingham Quintet and the Warren Vaché Quintet. More info page 26. 2, 5, 26 New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 The Mail Bag .......................4 Editor’s Pick/Deadlines/NJJS Info .......6 Prez Sez Crow’s Nest. 46 New Patron Level Benefits ...........47 By Mike Katz President, NJJS Change of Address/Support NJJS/ Volunteer/Join NJJS. 47 NJJS/Pee Wee T-shirts. 48 s this issue of Jersey Jazz is on its way to the New/Renewed Members ............49 APost Office, Jackie Wetcher and I are on our storIes way down to Port Everglades in Fort Lauderdale Pee Wee Preview. ...............cover to leave on a week-long Caribbean jazz cruise, Big Band in the Sky ..................8 which, we have been told, will feature more than Talking Jazz: James Chirillo ...........14 Dan’s Den ........................22 100 jazz musicians, many of them NJJS favorites.
    [Show full text]
  • Jul 06, 1973, Vol. 02 No. 12
    FREE photo By 1318 polk street/ son frotuisco .Lxmes ARmstRonc, [ j G u m B q u i ^ NEXT ISSUE Friday 7*20 DEADLINE : Monday /«I q VOLUME n MIRACLE ISSUE B12 July 6, 1973 626-0656 MBÈCA PUBLICATTOKS, P. O. BOX 627 S. F. CA. 94101 ORENTATOM News Caps MAP A juw has acquitted a gay activist in Detroit of charges stating he solicitated a sexual act from an undercover policeman. The 22 year old, Robert Holmes argured that the arrest was invalid because the plainclothes officer had lured him into conver­ sation, then charged him with ac­ costing & soliciting. A three-man, three-woman Jury acquited him after a half hour's deliberation. Hopefully this will open the doors to stopping all police entrap­ ment. The Ralph Nader-backed Health Research Group has peti­ tioned the government to remove aerosol cold and breath sprays from the market, including one popular brand, it said has been linked to 11 deaths. Among the mentioned brand names are the following: "Pertus­ sin Night-Time medicated vaporizer," "Congestaid, " "Dristan Medicated Room Vaporizer, " "Listerine breath Spray, " "Chloroseptic, " and "Lavoris. " photo QRAphy .K\mes ARmstRonq (USE ALCaiG WITH COMMUNITY MAPS. ) News Caps continued The Unitarian Universalist Association went on Record as the first major North American denomination to create a special "office on gay affairs" at itis- annual meeting in Toronto, Canada, G ro o v y With an assist from their J l s H iu e friend Charles L. (Bebe) Rebozo, the Nixon's have had a bowling alley installed in the White House so they won't have to cross the street to bowl, 'The Nixon's stated that: they foot the bill for the one lane bowling alley but, it is a fact that said alley was a gift from an unknown large corpora­ tion.
    [Show full text]